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  1. The Dybbuk 1937-2017 | Film and Live Performance

    November 22 @ 8:30 pm - 10:00 pm
dybbuk_ymca_eng_final

Jerusalem International YMCA, P.A.T. Labs and Mamuta present for only one time the great success of the year performed at the Jerusalem Film Festival 2017:

The Dybbuk 1937-2017

Film and live performance by Sala-manca (Lea Mauas and Diego Rotman), Adi Kaplan, Shachar Carmel, Ann Elizabeth, Ayu Rotman Mauas & The Jerusalem Street Orchestra, conducted by Ido Shpitalnik

https://www.eventer.co.il/dybbuk

Michael Waszynski (Poland) with a new edition by Adi Kaplan, Shachar Carmel & Sala-manca

״The dead were returned to life, and a culture long vanished, wiped out by the Holocaust, was resurrected on the screen” (Ira Konigsberg)

A new, re-edited version of the Yiddish film will be screened with live music and dubbing performance in the fabolouse YMCA theater hall.

The new, film-performance version is based on the film directed by Michael Waszynsky (1937), based upon S. Ansky’s play Der Dybbuk. Ansky wrote the play after completing the ethnographic expedition he organized between 1912-1914. The play (and film) tells the story of the ill-fated love between Hanan and Lea, the possession of Lea’s body by Hanan’s soul, the exorcism ceremony, and death as resolution – a re-encounter of the lovers in the next world.

Adi Kaplan, Shahar Carmel, and Sala-manca not only re-edited the film, they also replaced the original music composed by Henekh Kohn and the cantorial songs performed by Gershon Sirotta, with a new score. Performed live by the Jerusalem Street Orchestra, conducted by Ido Shpitalnik, the score is an adapted version of the Vltva (The Moldau), the second symphonic poem of Má vlast (My Homeland), by Czech composer Bedřich Smetana.  The use of Smetana’s Moldau as a clear reference to Israel’s national anthem – resonating it, but different – creates a liminal sonic soundscape incapable of defining an accurate sense of place or ideology.

Lea Mauas and Diego Rotman of the Sala-manca group are professional and real life partners, possessing the voices of the “dead but eternal” characters, originally performed by another real-life couple, Lili Liliana (Leah) and Leon Liebgold (Hannan)

In the spirit of The Dybbuk, the artists visit the archive instead of the cemetery, and invite the dead to dance with the living once again.

With the support of The National Authority for Yiddish Culture, Ostrovsky Family Fund, Hansen House, Jerusalem Municipality, Bet Shalom Aleichem, the Jerusalem Foundation, P.A.T., Ministry of Culture, the Jerusalem Instance and the Polish Institute.

The (this) event is in collaboration with the Jerusalem International YMCA. A place of equality, sharing, mutual respect, art, community and religion (faith).

 

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Adi Kaplan and Shachar Carmel | Behave Naturally
Curators: Sala-manca
Hansen House, Jerusalem
Opening 25.10 19:30 | Performance by Adi Kaplan, Shachar Carmel and Shira Legman

Mamuta at Hansen House presents:

Please Behave Naturally

An exhibition by Adi Kaplan and Shahar Carmel

Curation and intervention: Sala-Manca Group

55 pastel-oil paintings on canvases of different sizes make up the three series that comprise this exhibition, each documenting the goings-on in a different Tel Aviv public space. Carmel and Kaplan’s paintings are based on their own texts, each line of text inspiring one of the paintings. The series, painted over the course of the past three years, were printed in the book “Please Behave Naturally,” published in 2016 by LevAfor Publishing. Upon the book’s printing and publication, the paintings in it were rendered a byproduct of the book’s production.

Thus in a certain sense the exhibition is the catalog, elucidating the series of paintings that appear in the book. The exhibition and the book create paths that are reflected in one another, using the same images to tell similar but different stories. The book and the exhibition are not illustrations of one another, but parallel entities with similar faces. The installation in the gallery is a product of the re-editing of Kaplan and Carmel’s three stories within a single story, told through the intervention of the Sala-Manca group.

Kaplan and Carmel have been working together for more than two decades. They create together, complement one another, erase, add, and complete one another. Their choice of oil-pastel is an aesthetic as much as a conceptual choice: the colors are never resolved, always open for erasure or for the ongoing act of painting.

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We met Kaplan and Carmel, who work on the seamline between politics and art, during a guerilla action that they initiated in 2004, with the installation of the exhibition “Russian compounds” in Jerusalem’s Russian Compound (together with Yoram Blumenkrantz). The exhibition was presented as a response to the curators of the Artfocus 4 bienalle, after those agreed to sign the participating artists on a secret contract with the ministry of defense, which manages the site in which the biennale took place – a British mandatory prison that is located also in the Russian Compound. Shahar and Kaplan presented a series of paintings based on photographs of B’tselem. This was the beginning of an acquaintance that led to many collaborations, most of which took place in the framework of the “Heara” contemporary art interventions. The last – the collaborative work “The Dybbuk 1937-2017” was presented in the framework of the Jerusalem International Film Festival.

In the last one the two artists, in cooperation with the musician Shira Legman and the animation artist Shahar Davis, created the show “The pianist,” which combines live and recorded music, soundscape from the places described in the paintings, narration, and animated projections of the paintings. The show will go up in Hansen House in the opening of the exhibition.

https://www.facebook.com/events/874567549372983/?active_tab=about

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